The Character of the Key Signature

As I grow older I have noticed that my fondness for music continues to grow. Perhaps, it would be more correct to say that I have always been fond on music since my earliest recollection but it is my understanding of it on different levels that is evolving and changing over the years and this is adding the dimensions and making it all quite interesting. So it is probably a combination of an innate, universal understanding of human emotion through music with the added intellect as one ages and works at it. It is a complicated subject that has eluded mankind forever so there is no fear that I could ever reach a point where I would be able to stop, thankfully.

There have been many discussions here about some of the elements of music such as melody, harmony, rhythm, for instance. Recently, I’ve started focusing on the importance of the key signature of a piece and the role it plays in the music. Now, more than ever, I am convinced that the key signature plays a pivotal role in making a piece of music what it is. So this is a journey for me in exploring and putting into words these ideas that I might have felt over the years but never really connected the relationship formally until recently.

I would like this discussion to be in regards to all music. My vocabulary and knowledge is limited to classical music but I would value other perspectives and inputs, too (Jazz, all contemporary music etc). Also, I will apologize in advance for the length of this post. For the benefit of those who may feel intimidated by all this talk of music theory I would like to dispel this fear and be inclusive of all, especially those with zero knowledge but have at least some curiosity. So from time to time, I may introduce some basic concepts in music theory and hope that this will be appreciated and aid in the appreciation of this topic.

For those who do not wish to read on perhaps I could just state some of the main premises and thoughts I am thinking about.
1) Does each key have a predetermined or assumed character?
2) When a composer writes a score, is the key arbitrary or did the composer have a specific intent by choosing that key?
3) Does the key offer any insight or provide queues on how to interpret a piece?

When I was a child and through the various stages of learning how to play the piano and studying theory, I do believe that if someone had asked me about the key signature of a piece I would quite simply have given a reply in terms of the number of sharps or flats or the lack of them. More sharps and flats somehow equated into “harder” to play.

I am generally going to talk about Western Art music. Its heyday was from around 1600 to the early part of the 1900’s, I suppose. It was this period that really developed Tonal Music and this means we are basing our sound concept on Major and Minor keys. Outside of this, most music in the world to this point would be referred to as modal. I’m only going to talk about tonalism.

In tonal music, we essentially have 12 pitches that repeat the same pattern from low frequencies to higher frequencies. From these 12 pitches we have developed 24 keys; a major and a minor for each pitch. If you are familiar with a piano keyboard you can name these pitches easily by pressing every note from, say, middle C to the next C an octave higher. Specifically, these are named as follows:
1) C (white note)
2) C sharp (or D flat) (black note)
3) D (white note)
4) D sharp (or E flat) (black note)
5) E (white note)
6) F (white note)
7) F sharp (or G flat) (black note)
8) G (white note)
9) G sharp (or A flat) (black note)
10) A (white note)
11) A sharp (or B flat) (black note)
12) B (white note)
13) C (same pitch but an octave higher – this pattern will repeat ascending or descending)

For the notes that are shown in two ways, this is known as the Enharmonic. It really means this is the same note or pitch (ie. C sharp (or D flat)) but it is named differently depending how you want to view it. Each pitch is considered to be a half step between each other and two half steps is a whole step.

Also note that the 12 pitches have been chosen and standardized for tonal music. In reality, there can be an unlimited amount of pitches. For example, between the note we call C and D we can play many different pitches but in a tonal system it doesn’t sound right. Our ear can tell when for instance a singer sings slightly above or below the exact pitch it should be.

All Major and Minor scales can be defined as follows:

Major Scale:




Harmonic Minor:




Melodic Minor:




The other point worth mentioning is that a Relative Minor key is found by going three half steps lower than the beginning (Tonic) note of the major scale. The first note on the Major scale above is (middle) C. The first note in the minor scales above is A (which can be like counting backwards from #13 to #10 on the pitches listed above). C major and A minor share the same Key Signature. Also, note that in the Melodic Minor scale the two sharps would be removed when playing the scale descending.

Now for some practical information to those who listen to Bach’s Well Tempered Clavier, Chopin’s Preludes or even Shostakovich’s Prelude & Fugues. When talking about studies of Keys, these works are probably the most appropriate place to start because they specifically set out to cover all the keys but of course I intend to show that the same principles apply just the same way to all composers in this period.

Now that you know that there are 24 major and minor keys it should be clear that this matches the number of Preludes and Fugues in Book 1 of Bach’s WTC and also, the same in Book 2 (48 in total). Chopin’s Preludes have one piece per key again for a total of 24 and for that matter so do Shostakovich’s Preludes.

The only difference between Bach and Chopin / Shostakovich is in the order in which the pieces are placed within the book.

Bach proceeds chronologically. In other words, he first writes a Prelude and Fugue in C major, then a Prelude and Fugue in C minor, then a Prelude and Fugue in C sharp major, then a Prelude and Fugue in C sharp minor, then a Prelude and Fugue in D major, then a Prelude and Fugue in D minor and so on up to B minor.

Chopin and Shostakovich’s Preludes follow the order of the Circle of Fifths. This mean the first Prelude is in C major, the second in A minor, the third in G major, the fourth in E minor and so on. The easiest way to understand the Circle of Fifths is to follow the chart below and work your way clockwise around the circle. Essential C to G is a fifth (the Dominant) as is A to E etc.

Circle of Fifths:




Note that Bach wrote, for example, his piece in C sharp major and Chopin wrote in D flat major. While these are essentially the same thing I would argue from a psychological point of view these are different things (sharps vs flats).

The reason I wanted to present this much detail is it is the only way you might be able to understand the next points which will build toward my main premise here.

When I play a major or a minor scale on the piano the pattern and sound is equivalent or generic for all. Assuming that a listener is ignoring the pitches (ie. Cannot hear perfect pitch) a C major scale will sound exactly like a G major scale or E flat major and so on BUT a piece written in C major can never or will never have the same character as a piece in G major or E flat major.

From this generic pattern, music is created when a composer infuses the main elements of music, which are namely melody, harmony, and rhythm. But it is the key signature of the piece that puts everything into context though. It sets the stage or atmosphere, so to speak.

In some way, I believe that Bach really defined this expertly in his two books of the WTC. It is like he defined the musical equivalent of some natural law like gravity for us. From this point forward, these principles were carried forward by Haydn, Mozart, Beethoven and onward. The question is as to whether we are assuming Bach set the tone with each key or whether he was the first to actually understand what key is? Did he just happen upon some universal principle by chance or did he discover these principles and use them to his (and our) advantage?

So, if this is true, I am suggesting here that in a broad but real sense, a piece written in E flat major or C minor by Bach will convey the same feeling and sense of emotion as a piece in E flat major or C minor by Haydn, Mozart, Beethoven and so on. By extension, this suggests that we can break down the walls and stigma of saying this is Baroque or this is Classical or this is Romantic etc and focus solely on the emotive nature and character of the music. I believe we can rely on these dominant patterns. Later, I could show this pattern does hold true by comparing pieces in the same key, which might span over 200 years.

As an aside, I believe that for each individual there are certain keys that are more natural or suitable to that individual. This is why when I listen to the WTC, I will be attracted to certain pieces more so than others and everyone will probably tend to certain keys (moods) that are in alignment with their character in general. If you go through the WTC and just note the ones that you relate to the most I’m sure you will see a pattern here.

I’ve noticed this in myself since I was a child. In general, I gravitate toward minor keys. There are very few major keys that please or satisfy me. But in fact, they mostly disappoint me and make me feel uneasy.

One example of this for me is late Schubert’s C minor Sonata. In the last movement, it is centered on the key of G major, a key which is quick, light, and carefree in character. I can’t stand this and it makes me feel unsatisfied. Then in the middle section it is developed and returned back to C minor by a pianissimo (almost like a whisper from God). C minor is the key that the whole piece is moored on. So this return is such a glorious moment it is hard to fight back the tears here. It is a key of longing, solitude, of desire for things unknown and resolve to carry on. But we only get a very small taste of this as when Schubert reiterates the theme a few bars later he sadly does this in C major. For probably everyone on the face of this planet this is really symbolic of some hope or the silver lining. From a listeners perspective it will feel like the pitch is raised (as we eliminate the flats). Moving higher always symbolizes something positive (heaven) and moving lower always symbolizes something more ominous (the other place), This may be true but for me, leaving this place of magic and beauty is the tragedy.

Listening to and learning the WTC does teach us much about key. When we understand that a certain key brings along with it many givens about what the composer intended by setting the piece in this key, I think this also directs us in a proper interpretation of the piece. The other descriptions and musical descriptions written into the piece will likely correspond with the general feeling of the key.

For those interested, listen to the WTC, or any other composer and write down the emotions you feel from the piece and also note the key. Over time, pay attention to the key your favorite pieces are in. See if you are drawn to specific keys and ask yourself if pieces of a similar key put you in a similar mood.

Exploring the 24 keys on the piano is fascinating but for other instruments I think just by the nature of the instrument this limits the full exploration of the keys (at least naturally or easily). I’m thinking of the string family, guitar, certain wind instruments etc.?

I know, for example, a cello is based on the A, D, G, C strings. So it is more natural to play in these primary keys? Maybe someone can explain these other instruments better than I. For instance, what keys do most pieces played on a guitar fall in? I kind of doubt that there are any pieces in D sharp minor that are written or played? But the same is true of piano. The dominant keys get the most pieces written for them.

To help me keep focused on the importance of key I often try to think of pieces now by key. In other words, in of Beethoven’s 5th Symphony, I try to think of it as Beethoven’s C minor symphony. Same thing as with Beethoven’s last piano sonata as it is mostly referred to as No. 32 or Op. 111 but by thinking of it as the C minor sonata we can readily understand what it is all about. If I have time in the future I’d like to create a list of keys and provide descriptions of how these keys present themselves. Then, we can pick pieces by any composer and see if these attributes carry through.

I've run out of time but wanted to somehow throw the idea of Transposition into this. In theory, we could transpose any piece. So we don't think Bach knew what he was doing by writing his first Prelude and Fugue in Book 1 in C major. So we rewrite it in D major. Sure, it will sound vaguely the same but I would argue that the character that was intended by Bach will be lost.

So in summary, I would say that the importance of key of often overlooked. I believe the use of key is totally intrinsic to the music itself. You cannot defy the laws that are universal and you cannot fool the key by writing something against or foreign to its nature. The key lends itself to suggesting how to interpret works of music. The key is what puts a piece of music into context.

Agree or disagree? How do you feel about the key in a piece of music? Does key have any affect you in your listening? What keys engage you the most? Maybe, the key is the least of your concerns in music?

I look forward to your thoughts and opinions on this.

Regards,
Doug